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218 p.
Green Library
xvii, 294 pages : illustrations ; 24 cm.
  • Accessing Moving Images Acknowledgments Abbreviations Introduction: Defining the Local Film 1. The Silent Pageant: Municipal Booster Films 2. The Home Talent Film and the Origins of Itinerancy 3. "How Movies Are Made": Hollywood and the Local Film 4. Itinerants Adopt a Baby: The Local Hollywood Film and the Operational Aesthetic 5. Kidnapping the Movie Queen: Amateur Aesthetics as Cultural Critique 6. The Cameraman Has Visited Your Town: The Local Film and the Politics of Recognition 7. Every Town has its Main Street: The Banal Localism of the Civic Film 8. Reclaiming the Local Film: Artifacts, Archives, and Audiences Conclusion: See Your Town Disappear: The Historicity of the Local Film Filmography Bibliography Index.
  • (source: Nielsen Book Data)9780253032539 20180319
"See yourself in the movies!" Prior to the advent of the home movie camera and the ubiquitousness of the camera phone, there was the local film. This cultural phenomenon, produced across the country from the 1890s to the 1950s, gave ordinary people a chance to be on the silver screen without leaving their hometowns. Through these movies, residents could see themselves in the same theaters where they saw major Hollywood motion pictures. Traveling filmmakers plied their trade in small towns and cities, where these films were received by locals as being part of the larger cinema experience. With access to the rare film clips under discussion, Main Street Movies documents the diversity and longevity of local film production and examines how itinerant filmmakers responded to industry changes to keep sponsors and audiences satisfied. From town pride films in the 1910s to Hollywood knockoffs in the 1930s, local films captured not just images of local people and places but also ideas about the function and meaning of cinema that continue to resonate today.
(source: Nielsen Book Data)9780253032539 20180319
Green Library
xvi, 368 pages : illustrations ; 24 cm
  • In the beginning (1893-1903)
  • The studios and the stars (1907-1928)
  • The Hollywood style and the production code (1903-1922)
  • The distressing legacy of D.W. Griffith (1908-1925)
  • Silent comedy (1903-1936)
  • Between the World War I and the coming of sound (1913-1927)
  • The coming of sound (1927-1931)
  • American film and the Great Depression (1931-1935)
  • The depression era gangster film (1931-1939)
  • Comedy, Capra, and monsters (1931-1944)
  • 1939
  • Hollywood and WWII (1942-1949)
  • Directors of the forties: John Ford, Orson Welles
  • Alfred Hitchcock (1941-1946)
  • Film noir (1944-1950)
  • Hollywood after WWII (1946-1960)
  • Ford, Welles, and Hitchcock in the 1950s (1948-1960)
  • Science fiction in the 1950s (1950-1956)
  • New methods in acting and new directions in filmmaking
  • Decline and renewal (1960-1967)
  • Women, men, and superheroes (1980-2012)
  • New technologies (1950-present)
  • Rise of the modern documentary (1920-present)
  • Outside Hollywood: Stanley Kubrick (1953-1999)
  • The new Hollywood and after (1967-2006) Part one
  • The new Hollywood and after (1972-2011) Part two
  • American film in the 1990s and 2000s
  • Glossary.
Green Library
298 pages : ill. ; 23 cm
Green Library
xvii, 557 p. : ill. ; 26 cm.
  • PART 1: Production. 1. Introduction 2. Structure. Robert E. Kapsis. Hollywood Genres and the Production of Culture Perspective. Janet Harbord. Digital Film and 'Late' Capitalism. Douglas Gomery. Economic and Institutional Analysis: Hollywood as Monopoly Capitalism. Erwin A. Blackstone and Gary W. Bowman. Vertical Integration in Motion Pictures. 3. Artists. Denise D. Bielby and William T. Bielby. Women and Men in Film: Gender Inequality Among Writers in a Culture Industry. Anne E. Lincoln and Michael Patrick Allen. Double Jeopardy in Hollywood: Age and Gender in the Careers of Film Actors, 1926--1999. Charles S. Tahiro. The Twilight Zone of Contemporary Hollywood Production. Shari Roberts. The Lady in the Tutti-Frutti Hat: Carmen Miranda, a Spectacle of Ethnicity. Lucia Bozzola. Studs Have Feelings, Too: Warren Beatty and the Question of Star Discourse and Gender. Barry King. The Star and the Commodity: Notes Towards a Performance Theory of Stardom. 4. Globalization. Cheng Shao-Chun. Chinese Diaspora and Orientalism in Globalized Cultural Production: Ang Lee's Crouching Tiger, Hidden Dragon. Ruth Zanker and Geoff Lealand. New Zealand as Middle Earth: Local and Global Popular Communication in a Small Nation. Allen J. Scott. Hollywood and the World: The Geography of Motion-Picture Distribution and Marketing. Susan Christopherson. Behind the Scenes: How Transnational Firms are Constructing a New International Division of Labor in Media Work. PART 2: Text. 1. Introduction. 2. Genre. Sarah Berry. Genre. Paul Kerr. Out of What Past? Notes on the B Film Noir. 3. Pleasure. Pius XII. (1957) Miranda Prorsus: Encyclical Letter on Motion Pictures, Radio and Television. R. L. Rutsky and Justin Wyatt. Serious Pleasures: Cinematic Pleasure and the Notion of Fun. Noel King. Lost in the Funhouse. R. L. Rutsky and Justin Wyatt. Throwing Shade in the Kingdom. 4. Representation. Ed Guerrero. A Circus of Dreams and Lies: The Black Film Wave at Middle Age. G. Escamilla, A. L. Cradock, and I. Kawachi. Women and Smoking in Hollywood Movies: A Content Analysis. Tania Moldeski. A Rose is a Rose? Real Women and a Lost War. Chon Noriega. Citizen Chicano: The Trials and Titillations of Ethnicity in the American Cinema, 1935-1962. Jack Shaheen. Reel Bad Arabs: How Hollywood Vilifies a People. PART 3: Circulation. 1. Introduction. 2. Distribution. Jeffrey D. Himpele. Film Distribution as Media: Mapping Difference in the Bolivian Cinemascape. Martine Danan. Marketing the Hollywood Blockbuster in France. Suman Basuroy, Subimal Chatterjee, and S. Abraham Ravid. How Critical are Critical Reviews? The Box Office Effects of Film Critics, Star Power, and Budgets. 3. Audiences. Jo Ellen Shively. Cowboys and Indians: Perceptions of Western Films Among American Indians and Anglos. Philippe Meers. It's the Language of Film!: Young Film Audiences on Hollywood and Europe. Francis L. F. Lee. Cultural Discount and Cross-Culture Predictability: Examining the Box Office Performance of American Movies in Hong Kong. 4. Government. Rosemary J. Coombe. The Celebrity Image and Cultural Identity: Publicity Rights and the Subaltern Politics of Gender. Thomas H. Guback. Government Support to the Film Industry in the United States. Kelly Gates. Will Work for Copyrights: The Cultural Policy of Anti-Piracy Campaigns. 5. Globalization. Tom O'Regan. Cultural Exchange. Scott R. Olson. The Globalization of Hollywood. Bill Grantham. America the Menace: France's Feud with Hollywood.
  • (source: Nielsen Book Data)9780415452267 20160527
We are all experts about Hollywood. We have to be, given its iconic power as the global source of so much entertainment. Designed to add to existing expertise as a movie-goer, "The Contemporary Hollywood Reader" enables students to enter into the thematic, critical, artistic, economic, and political debates on Hollywood. "The Contemporary Hollywood Reader" is a dynamic selection of scholarly writings on Hollywood from the post-World War II period onwards, divided into three sections, each with contextualizing introductions from the Editor. The sections, Production, Text, and Circulation, address all the major perspectives on Hollywood allowing equal attention to the field, in both thematic and disciplinary senses. In this collection, Toby Miller offers a plural, open guide to major scholarly tendencies in writing about Hollywood with a mixture of familiar and less familiar works. While the Reader draws on research undertaken within US-UK film or cinema studies, it also ventures further afield, bringing together the most stimulating materials available on the subject.
(source: Nielsen Book Data)9780415452267 20160527
Green Library
272 p. : ill. ; 22 cm.
Green Library
1 online resource : illustrations.
xiv, 275 p. : ill. ; 25 cm.
  • Introduction: movies and the 1960s / Barry Keith Grant
  • 1960: movies and intimations of disaster and hope / Christopher Sharrett
  • 1961: movies and civil rights / Anna Everett
  • 1962: movies and deterioration / Eric Schaefer
  • 1963: movies and the little soldiers of the new frontier / Joe McElhaney
  • 1964: movies, the Great Society, and the new sensibility / James Morrison
  • 1965: movies and the color line / David Desser
  • 1966: movies and camp / Harry M. Benshoff
  • 1967: movies and the specter of rebellion / Murray Pomerance
  • 1968: movies and the failure of nostalgia / Leslie H. Abramson
  • 1969: movies and the counterculture / Christie Milliken.
The profound cultural and political changes of the 1960s brought the United States closer to social revolution than at any other time in the twentieth century. The country fragmented as various challenges to state power were met with increasing and violent resistance. The Cold War heated up and the Vietnam War divided Americans. Civil rights, women's liberation, and gay rights further emerged as significant social issues. Free love was celebrated even as the decade was marked by assassinations, mass murders, and social unrest.At the same time, American cinema underwent radical change as well. The studio system crumbled, and the Production Code was replaced by a new ratings system. Among the challenges faced by the film industry was the dawning shift in theatrical exhibition from urban centers to surburban multiplexes, an increase in runaway productions, the rise of independent producers, and competition from both television and foreign art films. Hollywood movies became more cynical, violent, and sexually explicit, reflecting the changing values of the time.In ten original essays, "American Cinema of the 1960s" examines a range of films that characterized the decade, including Hollywood movies, documentaries, and independent and experimental films. Among the films discussed are "Elmer Gantry", "The Apartment", "West Side Story", "The Manchurian Candidate", "To Kill a Mockingbird", "Cape Fear", "Bonnie and Clyde", "2001: A Space Odyssey", "Midnight Cowbody", and "Easy Rider".
(source: Nielsen Book Data)9780813542195 20160528
hdl.handle.net ACLS Humanities E-Book
Green Library
xv, 484 p. : ill. ; 26 cm.
"American Film: A History" is the most enjoyable and interesting overview of the history of American filmmaking available. Written by a top scholar in the field, this textbook gives students a thorough understanding of the fascinating intersection of economics and artistry in Hollywood cinema from the beginning of film history to the present. Focused on aspects of the film business that are of perennial interest to undergraduates, topics include: the business intrigues of Hollywood; the economics of content regulation; the tension between Hollywood and American culture overall; the importance of the youth market and the trends in popular genres from decade to decade.
(source: Nielsen Book Data)9780393979220 20160528
Green Library
xiii, 279 p. : ill. ; 25 cm.
  • 1930 : Movies and social difference / Aaron Baker
  • 1931 : Movies and the voice / Cynthia Erb
  • 1932 : Movies and transgression / David Lugowski
  • 1933 : Movies and the New Deal in entertainment / Martin Rubin
  • 1934 : Movies and the marginalized / Charlene Regester
  • 1935 : Movies and the resistance to tyranny / Ina Rae Hark
  • 1936 : Movies and the possibility of transcendence / Susan Ohmer
  • 1937 : Movies and new constructions of the American star / Allen Larson
  • 1938 : Movies and whistling in the dark / Sam B. Girgus
  • 1939 : Movies and American culture in the annus mirabilis / Charles Maland
  • Select Academy Awards, 1930-1939.
hdl.handle.net ACLS Humanities E-Book
Green Library
xiv, 209 p. : ill. ; 24 cm.
  • The Bowery Boys, Captain Midnight, and Ramar of the jungle
  • Sam Katzman's dime store dreamland
  • The passion of Fred F. Sears
  • Pop culture cold war auteurs
  • Visions from the margins
  • Next stop, the sixties.
Exposes the seedier side of American life in films of the 1950s. "Lost in the Fifties: Recovering Phantom Hollywood" reveals two 1950s: an era glorified in Hollywood movies and a darker reality reflected in the esoteric films of the decade. Renowned film scholar Wheeler Winston Dixon turns to the margins - the television shows and films of a hidden Hollywood - to offer an authentic view of the 1950s that counters the Tinseltown version. Dixon examines the lost films and directors of the decade. Contrasting traditional themes of love, marriage, and family, Dixon's 1950s film world unveils once-taboo issues of rape, prostitution, and gangs. Television shows such as "Captain Midnight" and "Ramar of the Jungle" are juxtaposed with the cheerful world of "I Love Lucy" and "Howdy Doody". Highlighting directors including Herbert L Strock, Leslie Martinson, Arnold Laven, and Charles Haas, Dixon provides new insights on the television series "Racquet Squad", "Topper", and "The Rifleman" and the teen films "I Was a Teenage Werewolf" and "High School Confidential". Lost in the Fifties includes twenty-five photos - many previously unpublished - and draws on rare interviews with key directors, actors, and producers. The volume provides the first detailed profile of the most prolific producer in Hollywood history, Sam Katzman, and his pop culture classics "Rock Around the Clock and Earth vs. The Flying Saucers". Dixon profiles, for the first time, B-movie phenomenon Fred F Sears, who directed more than fifty touchstone films of a generation, including the noir thriller "Chicago Syndicate", the criminal career story "Cell 2455 Death Row", and the 3-D color western "The Nebraskan". Also profiled is Ida Lupino, the only woman to direct in Hollywood in the 1950s.
(source: Nielsen Book Data)9780809326549 20160528
Green Library
x, 242 p. ; 23 cm.
  • The rhetorics of democracy
  • Acting naturally: juvenile series fiction about moviemaking
  • Fashioning the self to fashion the film: the case of the Palmer Photoplay Corporation
  • "Sermons in screens": denominational incursions into Hollywood
  • Learning to understand the foe: character education and film appreciation.
Green Library
391 p. : ill. ; 24 cm.
The Last Great American Picture Show brings together essays by scholars and writers who chart the changing evaluations of the American cinema of the 1970s, sometimes referred to as the decade of the lost generation, but now more and more recognized as the first New Hollywood, without which the cinema of Francis Coppola, Steven Spielberg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into existence. Identified with directors such as Sam Peckinpah, Arthur Penn, Peter Bogdanovich, Monte Hellman, Bob Rafelson, Hal Ashby, Robert Altman and James Toback, American cinema of the 1970s is long overdue for this re-evaluation. Many of the films have not only come back from oblivion, as the benchmark for new directorial talents. They have also become cult films in the video shops and the classics of film courses all over the world.
(source: Nielsen Book Data)9789053566312 20160528
Green Library
xiii, 382 p. : ill. ; 28 cm.
Green Library
xvii, 283 p. : ill. ; 24 cm.
This work examines independent cinema as an influence on European and mainstream Hollywood, combining interviews with directors, features on major genres and reviews of some key films. It adopts a broad definition of US Indie film including material on Tarantino, the Coen Brothers and Gus van Sant.
(source: Nielsen Book Data)9780851707587 20160528
An inspiration to European film-makers and to mainstream Hollywood, US independent cinema has blossomed in the late 80s and 90s with an enormous variety of idiosyncratic and challenging cinema coming to the fore. "Sight and Sound" magazine has captured much of the excitement of this vital, intelligent and often quirky cinema as it happened. This book, part of a new series of "Sight and Sound Readers", combines interviews with directors, features on major genres and reviews of some of the key films released derived from the pages of the magazine. The editor Jim Hillier adopts a broad definition of US indie film including material on the Coen brothers, Quentin Tarantino, Gus van Sant, Jim Jarmusch, Rose Troche, Todd Haynes, Hal Hartley and many more besides.
(source: Nielsen Book Data)9780851707594 20160528
Green Library
xxii, 238 p. : ill. ; 24 cm.
  • Contents: Introduction: "Nobody Knows Anything"-- Part 1: Hippie Generation - Easy Rider, Alice's Restaurant, Five Easy Pieces-- Vigilantes and Cops - Joe, The French Connection, Dirty Harry, Death Wish-- Disasters and Conspiracy - Airport, The Poseidon Adventure, Jaws, The Parallax View, Chinatown-- The End of the Sixties - Nashville, Shampoo, Between the Lines, The Return to Secaucus Seven, The Big Chill Part 2: Last Tango in Paris: or Art, Sex, and Hollywood-- Teen Films - American Graffiti, Cooley High, Animal House, Diner, Fast Times at Ridgemont High-- General Patton and Colonel Kurtz - Patton, Apocalypse Now-- From Blaxploitation to African American Film - Shaft, Superfly, Claudine, Leadbelly, Killer of Sheep-- Feminisms - Hester Street, An Unmarried Woman, Girlfriends, Starting Over, Head over Heels/Chilly Scenes of Winter, Coming Home, The China Syndrome-- Whose Future? - Star Wars, Alien, Blade Runner-- Conclusion Appendix 1: Time Line, 1968 - 1983: American History, American Film Appendix 2: Filmography.
  • (source: Nielsen Book Data)9780292747159 20160528
While the anti-establishment rebels of 1969's "Easy Rider" were morphing into the nostalgic yuppies of 1983's. "The Big Chill", "Seventies" movies brought us everything from killer sharks, blaxploitation, and teen comedies to haunting views of a divided America at war. Indeed, as Peter Lev persuasively argues in this book, the films of the 1970s constitute a kind of conversation about what American society is and should be - open, diverse, and egalitarian, or stubbornly resistant to change. Examining forty films thematically, Lev explores the conflicting visions presented within ten different film genres or subjects: Hippies ("Easy Rider", "Alice's Restaurant"); Cops ("The French Connection", "Dirty Harry"); Disasters and Conspiracies ("Jaws", "Chinatown"); End of the Sixties ("Nashville", "The Big Chill"); Art, Sex, and Hollywood ("Last Tango in Paris"); Teens ("American Graffiti", "Animal House"); War ("Patton", "Apocalypse Now"); African-Americans ("Shaft", "Superfly"); Feminisms ("An Unmarried Woman", "The China Syndrome"); Future Visions ("Star Wars", "Blade Runner"). As accessible to ordinary moviegoers as to film scholars, Lev's book is an essential companion to these familiar, well-loved movies. Peter Lev is Professor of Mass Communication at Towson University in Maryland.
(source: Nielsen Book Data)9780292747159 20160528
Green Library
xiii, 389 p. ; 24 cm.
  • Series Foreword by Pierre L. Horn-- Preface-- Introduction-- Entries (actors, actresses, directors, films)-- General Bibliography-- Film Festivals-- Film Schools-- Film Museums and Archives-- Index.
  • (source: Nielsen Book Data)9780313294877 20160528
These bibliographic entries serve as a guide for those who wish to do further research into the first 35 years of talking pictures. A brief history of this era of films, the studio system and the society of which they were a byproduct adds context to the entries and accents their significance. The author has chosen 1965 as the cutoff date because it marked the end of the studio system and the beginning of the independent filmmaking era. This guide highlights the people and the art of the glamorous days of filmmaking in which actors and actresses set the standards by which all actors have been measured since. The abundance of data collected in this guide reflects the exhaustive wealth of films and personalities associated with the golden age of moviemaking. Based in certain criteria such as the amount and availability of bibliographic material, notoriety, critical acclaim and the number and quality of awards, the author has carefully selected the works and people included in this reference. Current and comprehensive, this reference tool includes bibliographical information providing both positive and negative criticism and appendices, including an extensive general bibliography, lists of film festivals around the world, schools offering advanced degrees in film, and film museums and archives in the United States.
(source: Nielsen Book Data)9780313294877 20160528
Green Library
xiv, 511 p. ; 25 cm.
  • The Guide-- Appendix 1 - Actors in Guide-- Appendix 2 - Directors in Guide-- Appendix 3 - Films in Guide by Year-- Appendix 4 - Notable Producers-- Appendix 5 - Notable Screenwriters-- Appendix 6 - Major Studio Releases by Year-- Appendix 7 - Academy Award Winners.
  • (source: Nielsen Book Data)9780313296666 20160528
This is a critical collection of key films, directors and performers in American film, 1965-1995, a period that spans the demise of the studio system to the rise of the independents. The guide includes such notable contributions as the early work of Mike Nichols, the litany of 1970s masterpieces from Francis Ford Coppola, the overlooked works of genre directors Monte Hellman and Larry Cohen, and the exciting new independent generation of Lili Taylor, Jennifer Jason Leigh, Sean Penn, Todd Haynes and Spike Lee. It should be of interest to scholars, students and film buffs. Each film entry contains key cast and technical credits, a brief synopsis and analysis, and notable awards. Each entry for director and performer contains biographical data, a career overview, a complete filmography and noted television and stage appearances, a selected bibliography and honours received.
(source: Nielsen Book Data)9780313296666 20160528
Green Library
xiii, 258 p. ; 21 cm.
  • Preface. 1. The Decline of the Big Studios. 2. A Search for New Markets. 3. Tangles of Conglomerates. 4. Popular Culture to Counterculture and Back. 5. Movie Palaces, Shopping Malls, and Multiplexes. 6. Return to Entertainment. 7. The Small Screen. 8. Hollywood's Enduring Mystique. Bibliography.
  • (source: Nielsen Book Data)9780155015685 20160528
CELLULOID MIRRORS is an exciting new survey of major developments in American filmmaking since 1945. Coverage includes changes in film content, alterations in the business structure of Hollywood, shifts in theater design, the impact of television, and Hollywood's enduring mystique. This supplement is appropriate for a variety of courses, including American History Survey courses, Modern America History courses, American Cultural History, Film History, and Popular Culture.
(source: Nielsen Book Data)9780155015685 20160528
Green Library
285 p. : ill. ; 23 cm.
SAL3 (off-campus storage)


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